Thankfully, the movie clocks in at a mere 105 minutes. The Marvels doesn’t have much to say, but at least it says it quickly.

The director's most painfully slow movie yet.

The “Paranormal Activity” films, to their credit, build slowly, backloading the chills in the second half. That means, to get through that first hour, the characters have to be interesting, but these self-absorbed Gen Z wannabe filmmakers are anything but.

To watch Boulevard is to keep circling back, over and over, to the question: Was it merely an actor’s misguided inspiration, to take a repressed character and turn him into a grievously depressed one? Or was Williams simply unable to do it any other way?

At its best, it captures the last-days-of-Pompei feeling that was in the air at the time — a mix of frenetic celebration, paranoia and despair. But alas, the documentary soon derails into bogus history, specious arguments and a self-blinding variety of political bias.

An acquired taste.

This seemingly good idea results in disaster. Allen has no insight into the current generation of young people, and his film is just a jumbled rehash of themes and motifs that he's explored elsewhere.

Beneath the handsome production values, the steady motor of Ron Howard's direction and the solid acting of Mel Gibson as a flashy airline tycoon whose son is abducted in Central Park, Ransom is pure poison: the kind of hang-'em-high rouser that feeds off our basest impulses and prods us into cheering the hero on as he commits grisly, retributive acts of violence.

Bastian is a difficult kid to sit and watch for 90 minutes -- self- important and with a shrill voice. The story is all over the place, setting the audience up for things that never pan out and defying its own logic. [09 Feb 1991, p.C3]

SWAT is better than "Gigli," but so is most outpatient surgery.

Director Sammi Cohen takes an attention-deficit disorder approach to storytelling, in which every feeling and plot twist is punctuated by a current pop song, and any hint of emotion or thoughtfulness is interrupted by a needle drop.

The movie's onslaught of psychobabble is the annoyance most likely to ruin your evening. Imagine getting stuck on a ski lift with Dr. Phil for nearly two hours.

A sour romantic comedy that arrives in theaters just in time to spoil Valentine's Day. Its plot is a catalog of unpleasantness. Its characters are repellent.

Twenty minutes in, the movie is already operating at a deficit, and it never recovers.

May be a good tactical move for the artist's career, but it's a bad movie.

While it's filled with quality actors, this James Bond tale for tweens feels like something you should be getting for free on television.

The enjoyment one wants from GIs fighting these creatures is stunted by the film’s lack of energy and imagination.

Amateur gives the impression of a sloppy first draft. It begins with a splash, meanders until it reaches feature length, then ends abruptly.

The Distinguished Gentleman isn't much of a movie - it's a mess, in fact. [04 Dec 1992]

Nearly unbearable.

When viewing the action thriller London Has Fallen, there’s no escaping the reality that you’ve seen everything on the screen before — many, many times. For every bullet, and you will lose count, there is a cliche.

It is crystal clear who screwed up this tortuously slow-moving romantic drama.

It takes one of the most gifted screen actresses of her generation and casts her out to sea with nothing to hold onto but a hideous script that’s all attitude without depth or understanding.

Nearly a scene-for-scene rip-off of "National Lampoon's Summer Vacation" -- where the only substantive change from the original is a reversed travel route.

The freshest thing about Breakin' All the Rules is its dropped "g.''

A hodgepodge of half-baked visual styles can't disguise the fact that this dismal thriller is all situation and no story.

A whimsical modern fairy tale.

A "nonstop thriller" that is also a nonstop dud. Underline the word "long" in the title.